Contemporary Poets (Bloom's Modern Critical Views)

Contemporary Poets (Bloom's Modern Critical Views)

Language: English

Pages: 300


Format: PDF / Kindle (mobi) / ePub

-- Brings together the best criticism on the most widely read poets, novelists, and playwrights-- Presents complex critical portraits of the most influential writers in the English-speaking world -- from the English medievalists to contemporary writers

Multiply/Divide: On the American Real and Surreal

Seduction and Betrayal: Women and Literature (New York Review Books Classics)

Long Time Leaving: Dispatches from Up South

Beasts and Birds of the Middle Ages: The Bestiary and Its Legacy

All Men Are Brothers (Bloomsbury Revelations)

Europe East And West












our understandings, feelings, and emotions are trued through poetry. In brief, they dynamically use the ambivalent bifurcation between abstraction and realism that “Self-Portrait in a Convex Mirror” powerfully formulates, and they find grounds for the rapprochement of these opposing terms. Indeed, Ashbery’s poem itself goes far in explicating and defetishizing the false opposition between the referential and the nonreferential that some of the more seemingly progressive poets of the seventies and

religious or transcendental concerns showed itself in a variety of ways. The relentless contemporaneity of reference that marked much eighties poetry did not recede completely, but was balanced by more archaic elements. Poems in the nineties became more allusive, evoking or expounding older texts and voices as though to authorize their own spiritual exploration. Augustine, Dante, Traherne, Dickinson, Emily Brontë and Wittgenstein were only a few of the tutelary figures summoned up by poets in the

somewhere in summer between the ceremonies Remembered from childhood and the historical conflagrations Imagined in sad, learned youth—somewhere there always hangs The American moment. Burning, restless, between the deed And the dream is the life remembered In new rocks new insects are sitting With the lights off And once more I remember that the beginning Is broken No wonder the addresses are torn Glad of the changes already and if there are more it will never be you that minds Since it will not

subject to complete control. To an intermediary who sought to arrange a newspaper interview with A.E. Housman, the poet responded, Tell him that the wish to include a glimpse of my personality in a literary article is low, unworthy, and American. Tell him that some men are more interesting than their books but my book is more interesting than its man. Tell him that Frank Harris found me rude and Wilfrid Blunt found me dull. Tell him anything else that you think will put him off. There have

procedure but with a pomp of put-on solemnity absent in the scene remembered here: the phrase and the version of community it sells are an unconscious parody of the companionship the poem has recalled. A guy, by definition, is anyone, the sort of anyone you can benefit without having much feeling for. The falseness of that promise is taken up quickly and held: “Perhaps.” Opening up in poetry or friendship is not a matter of turning the drip of the faucet into a steady stream. Intimacy, like

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